Nearly twenty years later, when published for the first time in English, Discourse on Colonialism inspired a new generation engaged in the Civil Rights, Black Power, and antiwar movements. Aimé Césaire eloquently describes the brutal impact of capitalism and colonialism on both the colonizer and colonized, exposing the contradictions and hypocrisy implicit in western notions of "progress" and "civilization" upon encountering the "savage," "uncultured," or "primitive." He reaffirms African values, identity, and culture, and their relevance, reminding us that "the relationship between consciousness and reality is extremely complex. . . . It is equally necessary to decolonize our minds, our inner life, at the same time that we decolonize society." An interview with Aimé Césaire by the poet René Depestre is also included.

    For most of the 19th century, a wide variety of expressive forms--Shakespearean drama, opera, orchestral music, painting & sculpture, as well as the writings of such authors as Dickens & Longfellow--enjoyed both high cultural status & mass popularity. In the 19th century Americans (in addition to whatever specific ethnic, class & regional cultures they were part of) shared a public culture less hierarchically organized, less fragmented into relatively rigid adjectival groupings than their descendants were to experience. By the 20th century this cultural eclecticism & openness became increasingly rare. Cultural space was more sharply defined, less flexible than it had been. The theater, once a microcosm of America--housing both the entire spectrum of the population & the complete range of entertainment from tragedy to farce, juggling to ballet, opera to minstrelsy--now fragmented into discrete spaces catering to distinct audiences & separate genres of expressive culture. The same transition occurred in concert halls, opera houses & museums. A growing chasm between 'serious' & 'popular', 'high' & 'low' culture came to dominate the expressive arts."If there is a tragedy in this development," Levine notes, "it is not only that millions of Americans were now separated from exposure to such creators as Shakespeare, Beethoven & Verdi, whom they had enjoyed in various formats for much of the 19th century, but also that the rigid cultural categories, once they were in place, made it so difficult for so long for so many to understand the value & importance of the popular art forms that were all around them. "Too many of those who considered themselves educated & cultured lost for a significant period--& many have still not regained--their ability to discriminate independently, to sort things out for themselves & understand that simply because a form of expressive culture was widely accessible & highly popular it was not therefore necessarily devoid of any redeeming value or artistic merit."Note: first presented as The William E. Massey Sr. Lectures in the History of American Civilization in 1986,

    Indeed, few artistic or social movements can boast as many women forebears, founders, and participants-perhaps only feminism itself. Yet outside the movement, women's contributions to surrealism have been largely ignored or simply unknown. This anthology, the first of its kind in any language, displays the range and significance of women's contributions to surrealism. Letting surrealist women speak for themselves, Penelope Rosemont has assembled nearly three hundred texts by ninety-six women from twenty-eight countries. She opens the book with a succinct summary of surrealism's basic aims and principles, followed by a discussion of the place of gender in the movement's origins. She then organizes the book into historical periods ranging from the 1920s to the present, with introductions that describe trends in the movement during each period. Rosemont also prefaces each surrealist's work with a brief biographical statement.

    First published on the eve of war in 1939, the essay has often been read as a pacifist manifesto. Rachel Bespaloff was a French contemporary of Weil’s whose work similarly explored the complex relations between literature, religion, and philosophy. She composed her own distinctive discussion of the Iliad in the midst of World War II—calling it “her method of facing the war”—and, as Christopher Benfey argues in his introduction, the essay was very probably written in response to Weil. Bespaloff’s account of the Iliad brings out Homer’s novelistic approach to character and the existential drama of his characters’ choices; it is marked, too, by a tragic awareness of how the Iliad speaks to times and places where there is no hope apart from war.This edition brings together these two influential essays for the first time, accompanied by Benfey’s scholarly introduction and an afterword by the great Austrian novelist Hermann Broch.

    -- Alan Dundes. Propp's work is seminal...[and], now that it is available in a new edition, should be even more valuable to folklorists who are directing their attention to the form of the folktale, especially to those structural characteristics which are common to many entries coming from even different cultures. -- Choice

    Initiating and describing a theory and method of reading the metaphors and materiality of "the wake," "the ship," "the hold," and "the weather," Sharpe shows how the sign of the slave ship marks and haunts contemporary Black life in the diaspora and how the specter of the hold produces conditions of containment, regulation, and punishment, but also something in excess of them. In the weather, Sharpe situates anti-Blackness and white supremacy as the total climate that produces premature Black death as normative. Formulating the wake and "wake work" as sites of artistic production, resistance, consciousness, and possibility for living in diaspora, In the Wake offers a way forward.

    However, Burke's analysis of the relationship between emotion, beauty, and art form is now recognized as not only an important and influential work of aesthetic theory, but also one of the first major works in European literature on the Sublime, a subject that has fascinated thinkers from Kant and Coleridge to the philosophers and critics of today.

    ” —George Lipsitz“The text is of great value to anyone working on issues pertaining to the fantastic and the uncanny.”  —American Studies International“Ghostly Matters immediately establishes Avery Gordon as a leader among her generation of social and cultural theorists in all fields. The sheer beauty of her language enhances an intellectual brilliance so daunting that some readers will mark the day they first read this book. One must go back many more years than most of us can remember to find a more important book.” —Charles LemertDrawing on a range of sources, including the fiction of Toni Morrison and Luisa Valenzuela (He Who Searches), Avery Gordon demonstrates that past or haunting social forces control present life in different and more complicated ways than most social analysts presume. Written with a power to match its subject, Ghostly Matters has advanced the way we look at the complex intersections of race, gender, and class as they traverse our lives in sharp relief and shadowy manifestations.Avery F. Gordon is professor of sociology at the University of California, Santa Barbara.Janice Radway is professor of literature at Duke University.

    In this superb anthology can be found the best of the English-speaking world’s inspirational and reassuring verse, including such classics as Rudyard Kipling’s ‘If’ and W.H. Davies’ ‘Leisure’. This beautifully illustrated collection of over 120 poems is sure to offer solace, hearten the soul and motivate the human spirit.

    methodologically innovative... precise and perceptive and conscious... " --Text and Performance QuarterlyWoman, Native, Other is located at the juncture of a number of different fields and disciplines, and it genuinely succeeds in pushing the boundaries of these disciplines further. It is one of the very few theoretical attempts to grapple with the writings of women of color." --Chandra Talpade MohantyThe idea of Trinh T. Minh-ha is as powerful as her films... formidable... " --Village Voice... its very forms invite the reader to participate in the effort to understand how language structures lived possibilities." --ArtpaperHighly recommended for anyone struggling to understand voices and experiences of those 'we' label 'other'." --Religious Studies Review

    Includes essays and excerpts from the works of prominent modern thinkers such as Umberto Eco, Jacques Derrida, and Isaiah Berlin among others.

    In this poetic work inspired by Hortense Spillers, Gumbs offers an alternative approach to Black feminist literary criticism, historiography, and the interactive practice of relating to the words of Black feminist thinkers. Gumbs not only speaks to the spiritual, bodily, and otherworldly experience of Black women but also allows readers to imagine new possibilities for poetry as a portal for understanding and deepening feminist theory.

    But there is much more to the book than that. In Why Kerouac Matters, John Leland embarks on a wry, insightful, and playful discussion of the novel, arguing that it still matters because it lays out an alternative road map to growing up. Along the way, Leland overturns many misconceptions about On the Road as he examines the lessons that Kerouac's alter ego, Sal Paradise, absorbs and dispenses on his novelistic journey to manhood, and how those lessons, about work and money, love and sex, art and holiness, still reverberate today.He shows how On the Road is a primer for male friendship and the cultivation of traditional family values, and contends that the stereotype of the two wild and crazy guys obscures the novel's core themes of the search for atonement, redemption, and divine revelation. Why Kerouac Matters offers a new take on Kerouac's famous novel, overturning many misconceptions about it and making clear the themes Kerouac was trying to impart.

    Unlike those organized Islamist activities that seek to seize or transform the state, this is a moral reform movement whose orthodox practices are commonly viewed as inconsequential to Egypt's political landscape. Saba Mahmood's compelling exposition of these practices challenges this assumption by showing how the ethical and the political are indelibly linked within the context of such movements.Not only is this book a sensitive ethnography of a critical but largely ignored dimension of the Islamic revival, it is also an unflinching critique of the secular-liberal principles by which some people hold such movements to account. The book addresses three central questions: How do movements of moral reform help us rethink the normative liberal account of politics? How does the adherence of women to the patriarchal norms at the core of such movements parochialize key assumptions within feminist theory about freedom, agency, authority, and the human subject? How does a consideration of debates about embodied religious rituals among Islamists and their secular critics help us understand the conceptual relationship between bodily form and political imaginaries? Politics of Piety is essential reading for anyone interested in issues at the nexus of ethics and politics, embodiment and gender, and liberalism and postcolonialism.

    Here Girard explores violence as it is represented and occurs throughout history, literature and myth. Girard's forceful and thought-provoking analyses of Biblical narrative, Greek tragedy and the lynchings and pogroms propagated by contemporary states illustrate his central argument that violence belongs to everyone and is at the heart of the sacred.